MAR GARCÍA ALBERT PORTFOLIO
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MAR
GARCÍA
ALBERT
PORTFOLIO
English
FOUR DISTURBANCES, A TEST, A MIGRANT AND A FEMININE POLICY MAKER, 2020
DOC! Espace de Production Artistique, Paris, FR
Disturbances, by Mireya Hernandez Pozuelo
On Friday the 13th, Death opened a boutique / on the Champs-Élysées, cotton, scented, padded. The cashier sucks the tip of her foreDinger
sang Future Bible Heroes. It had air conditioning and escalators up to to separate the plastic more quickly. Compact, mega, super, ultra. She
the sky or down to the centre of the earth. There, on the basement, was looks back out of the corner of her eye: the queue is getting longer and
the supermarket where Joe Strummer disappeared in 1979. longer. People came from far and near to buy poison and tears.
Disturb. 1. Agitate and destroy (quiet, peace, etc.); break up the tranquil- ‘Specialists in you’, can be heard through the sound system, while a
lity or calmness of. handful of customers inspect the last racks and crouch down to check
whether there’s anything left on the lowest shelves. The staff rush off
Tired of walking, Jonathan Richman sat down and began to watch to the stockroom, come back, shake their heads, ‘I’m sorry, try again
people coming and going. He noticed the strange emblems on bags, tomorrow. The décor was delectable the service impeccable.
repeated along the walls like Dlags in a parade. Green triangles, red
apples, a closing inverted comma after a small p … If the musician from Disturbed. 2. Psychiatry. Emotionally or mentally unstable or abnormal.
Massachusetts were a shopping centre, it would feel ashamed of itself.
On a news programme thousands of kilometres away, a voice-over The sales will soon roll in, like the scrap merchant, with a bang and big
exclaimed, ‘Shops and businesses give Madrid the rank and status of a promises (‘Madam, we collect any old iron, washing machines, stoves,
metropolis.’ Nobody realised that that spotless behemoth was selling old beds, water heaters …’). The greater the discount, the greater the
fear and dismay. After all, anybody could walk through those huge crowds. ‘When possible buyers enter in hordes it’s like an invasion’,
passageways and buy the products they saw on TV. ‘What’s great about read an old advertisement that is never outdated. And there go the
this country is that America started the tradition where the richest housewives, Dighting over a garment that was expensive – what isn’t?,
consumers buy essentially the same things as poorest … the President but is now half-price.
drinks Coke, Liz Taylor drinks Coke and just think, you can drink Coke
too …’ ‘A giveaway, a giveaway’, sang Almodóvar and McNamara. And their
wrinkled hands rummage through the heaps of clothes at cut prices,
Open seven days a week, it was de rigueur and chic. For the wicked and while in the background music in our heads Mecano sings, ‘I’m hunting,
the weak, death opened a boutique. hunting, hunting amongst garments, I’m hunting, hunting, hunting for
a bargain’ and her friend or sister-in-law take their place in the queue
Disturb. Distract the attention of, intrude upon. that now reaches all the way to the door.
First thing in the afternoon, there’s no toilet paper left. The tills are They’ll leave when it’s dark, eyes bright and pockets empty, knowing
Dilled with bags Dlecked with black and green triangles and soft packs that their family will at last be able to wear for the first time what other
expand or deform the red apple of the logo. 12 rolls, 24, 36. 3-ply, extra people previously wore for the first time.
soft, neutral pH, aloe vera. 4-ply, is that possible? Six 4-ply rolls. Silk,
Untitled (The Migrant), 2020
Oil on canvas,
80x60 cms.
Disturbance n°1, 2020
Oil on canvas,
146 X 114 cms.Disturbances n°3 and 4, 2020
Huile sur toile,
146 X 114 cms.Disturbance n° 4, 2020
Huile sur toile,
146 X 114 cms.Disturbance n° 3, 2020
Huile sur toile,
146 X 114 cms.The Feminine Policy Maker, 2020 Oil on canvas, 24 X 119 cms.
Disturbance n° 2, 2020
Oil on canvas,
24 X 119 cms.PAINTING ARRANGEMENT, 2019 Exhibition “Été pourri peinture fraîche”, FRAC Champagne-Ardenne, Reims, FR
The painting arrangements are sets of canvases organized in mid- In his critique of the political economy, Karl Marx stated as a
stream between the “installation” and the simple cumulation of necessary condition for the creation of value the presence of
canvases in the studio. cumulated human labour in the concerned material object. By
attending this definition, I wonder if the obstruction of a painted
Their starting point has to been found in that part of the creative
surface can consequently block the mechanism of attribution of
activity of the artist which is not linked to the direct creation
value as an effect of not being able anymore to check the quan-
of value through the production and exhibition of a new body
tity (then maybe the quality) of cumulated labour.
of work; it’ s rather linked to the simple cumulation of pieces
as partof the stock 1 (or fixed asset) in his studio. The way in
which the canvases pile off in that area for me is really interes-
1 A quantity of something accumulated, as for future use: a stock
ting because it excludes totally the idea of exhibition. The fact of
of provisions.
unveiling the aspects and situations that the conventional show
hiddens it’ s one of the core pillars of my artistic practice.
This project is consequently based in a specific spacial develop-
ment where several paintings, with different dimensions wont be
displayed anymore hanged on the walls, they’ll just be leaning
against the wall 2, reproducing some of the scenes which are
usual in my studio.
That premise allows for a second spacial installation game re-
lated to the arrangements, as far as the canvases, with its frames
and crossbars present a good occasion to be used as display ele-
ments. By hiding and unveiling at the same time, their oblige for
the coexistence of both sides of the paintings (combinations of
front-side and backside). Thus, we can see how the signature at
the back of a painting is coexisting with the main side of another
canvas, thus conforming a whole new ensemble. By this logic, all
my artistic production can be definitively exposed in an endless
loop, where the work which is not useful as an image can be used
as a display for showing other pieces.Painting
Arrangement.
Detail of the installation).
Oil on canvas,
drawing,
installation,
variable
measures.General vue of the exhibition “Été pourri peinture fraiche”, curated by Marie Griffay. Artists, from left to right: Nicolas Momein, Franz Ackermann, Mar Garcia Albert.
Painting Arrangement.
(Detail of the exhibition with the work «No Roof but The Sky» at the
left, by Franz Ackermann ).
Oil on canvas,drawing, installation,
variable measures.A PERPENDICULAR ARRANGEMENT, 2018
SIS gallery, Sabadell, ESAu sol: Flat Arrangement, 2018.
Œuvres de l’ artiste Manuel Duque, 1959-1961;
400 X 210 cm.A Perpendicular Arrangement, 2018.
(Exhibition vue).
Oil on canvas, installation;
variable measures.Gaze, 2018.
Oil on canvas, installation vue;
81 X 97,5 cm.A Perpendicular Arrangement, 2018.
(Vue d’ exposition).
Peinture à l’ huile, installation;
dimensions variables.A Perpendicular Arrangement, 2018
(installation view).
Oil on canvas;
variable measures.Stardboard, 2018.
Oil on canvas;
35 X 27 cm.A Perpendicular Arrangement, 2018.
(Installation view).
Oil on canvas, installation;
variable measures.Forward Email Painting, 2018.
Oil on canvas;
115 X 89 cm.Fluffy Toys, 2018
Oil on canvas,
73 X 60 cm.
Title Arrangement, 2018
Fluffy Toys et Kim Jong-Un’s Hand with title inversion,
variable measures.Kim Jong-Un’s Hand, 2018.
Oil on canvas,
73 X 60 cm.
Title Arrangement, 2018.
Fluffy Toys et Kim Jong-Un’s Hand with title inversion,
variable measures.A Perpendicular Arrangement, 2018.
(Vue d’ exposition depuis l’ escalier).
Oil on canvas, installation,
variable measures.Stock: Insight (1), 2018.
Oil on canvas;
92 X 73 cm.Stock: Insight (2), 2018.
Oil on canvas;
92 X 73 cm.L’ Alquebla, Monovar: peinture placée, 1947-2018.
Emilia Amorós Tortosa & Mar García Albert
Oil on canvas, wood, plexiglass,
35 X 47 cm.TABLE ARRANGEMENT, 2018 Nou Estruch Center for living arts, Sabadell, ES
Table Arrangement, 2018.
(Exhibition view).
Oil on canvas, installation, tables;
variable measures.Table Arrangement, 2018.
(Exhibition view).
Oil on canvas, installation, tables;
variable measures.Table Arrangement, 2018.
(Exhibition view).
Oil on canvas, installation, tables;
variable measures.PAINTING ARRANGEMENTS, 2017
Studio Arcueil, FRPainting Arrangement:
Happy Hour Painting, 2017.
Stocked paintings, oil on canvas;
116 x 160 cm.Painting Arrangement: BJJCBJAL, Cat Painting, 2017.
Stocked paintings, oil on canvas;
135 x 95 cm.Body Arrangement, 2017.
Stocked paintings, oil on canvas;
130 x 118 cm.Body Arrangement, 2017. Body Arrangement, 2017.
Detail. Detail.BELONG ANYWHERE, 2018 À deux pas du Sacre, Reims, FR
Le lever de fromage, 2018.
(Exhibition view).
Oil on canvas, installation,
89x116 cm.Pizza Painting with Green Peper, 2018.
(Exhibition view).
Oil on canvas, installation,
28x35 cm.Pizza Painting with Peperonni, 2018.
(Exhibition view).
Oil on canvas,
24x30 cm.Fondu de brocoli, 2018.
(Exhibition view).
Oil on canvas,
24x30cm.LIQUID SHOW A SWELTERIN DAY, 2017
Parc du coteau, Arcueil, FRMetacomic (Sweat), 2017.
Oil on canvas;
24 x 17,5 cm.Liquid Show a Swelterin Day, 2017.
Installation view.Liquid Show a Swelterin Day, 2017.
Installation view.Metacomic (side notes), 2017.
Oil on canvas;
70 x 50 cm.Pizza Slice with Peperonni, 2017.
Oil on canvas,
24 x 30 cm.Effortless Painting n° 1, 2017.
Oil on canvas,
70 x 50 cm.Pizza Slice with Mushrooms, 2017.
Oil on canvas;
17,5 x 24 cm.INTRODUCING M NITOL, 2017 DOC! Espace de Production Artistique, Paris, FR
Mr. Nitol Grinning with all his Teeth, 2016.
Oil on canvase;
200 x 250 cm.Mayoketchup Painting, 2016.
Oil on canvas;
34 x 24 cm.Pizza Painting, 2016.
Oil on canvas;
140 x 99 cm.75°, 2015 Sala Gran, Lacapella, Barcelone, ES
75° is a project specifically developed for the « Sala Gran » from art space LaCapella
(Barcelona). Its aim is to exhibit mutability.
Thus, some wood plinths are lying into the walls covered with oil paint (which
is still drying). Each piece has a different colour and a different amount of paint,
what means that the drying timing changes from plinth to plinth. The time-specific
feature of the exhibition is linked to humidity.
The exhibition space is progressively dismantled, step by step the pieces dry
and the space gets emptier.
Linck: https://vimeo.com/user42558192/75 degrees75º, 2015
Installation site-specific, tasseaux en bois, peinture à l´huile, humidité, temps;
dimensions variables.Documentation of a progressively
emptier space.Withdrawal protocol for a dry wood plinth.. Street view.
Fingerprint left on a length of wood by a spectator (detail)
Humidity detail.
The viewer is stained accidentally while walking through the exhibition space.
M NITOL, 2012 Biennal de Valls 13, Valls, ES
Mister Nitol, 2015.
Oil on canvas;
33,5 x 41 cm.Exhibition view at the Valls Biennal 2013.
CV
Mar Garcia Albert, Espagne (1980) margarcialbert@gmail.com +33 (0)6 01 03 04 71
SOLO SHOWS:
2018 A Perpendicular Arrangement, SIS Gallery, Sabadell, curated by Xavier Ristol, Barcelona, ES.
Table Arrangement, performing arts center NauEstruh, Sabadell, ES.
2017 Liquid Show a Canicular Day, Parc du Coteau, Arcueil, FR.
2016 Introducing Mr. Nitol, DOC! center for Visual and performing arts, Paris FR.
2015 75 degrés, Sala Gran LaCapella, Barcelone ES.
2014 Recent works, curated by Blanca Uría Prado and María Mallol for the program “Arte Lateral”, space Velázquez 57, Madrid, ES.
2012 Sans Titre, Espai Tactel gallery, Valencia, ES.
2010 Catorceavos, Chambre of the Urban Property, Barcelone, curated by Alex Mitrani, ES.
GROUP SHOWS:
2020 Marché Noir, Vendre pour exposer ou l’ art d’ aller à l’ essentiel, Le Doc!, Paris, FR.
2021 The plates of the present, curated by Thomas Fougeirol and Jo-ey Tang, Beeler Gallery, Columbus, USA.
2020 The plates of the present, curated by Thomas Fougeirol and Jo-ey Tang, Centre Georges Pompidou, Paris, FR.
2019 Eté pourri, peinture fraiche, curated by Marie Giffray, FRAC Champagne-Ardenne, Reims, FR.
i-n-t-o-t-o 7, curated by Thomas Fougeirol and Julien Carryien, Kunstverein am Rosa-Luxembourg-Platz, Berlin, DE.
2018 Art-o-Rama, curated by Daniella Baldieri, Rinomina, Marseille, FR.
Belong Anywhere, curated by Sébastien Rouet, project space “A deux pas du Sacre”, Reims, FR.
i-n-t-o-t-o 6, curated by Julien Carreyn and Thomas Fougeirol, Fondation Entreprise Ricard, Paris, FR.Mar Garcia Albert, Espagne (1980) margarcialbert@gmail.com +33 (0)6 01 03 04 71
2017 On Translation, curated by Johanna Caplliure et Jose Luis Giner, Lonja del pescado, Alicante, ES.
i-n-t-o-t-o 3, curated by Thomas Fouigerol and Julien Carryien, Le Molière, Paris, FR.
On Translation, curated byJohanna Caplliure and Jose Luis Giner, Centro del Carmen, CCCCV, Valencia, ES.
The Plates of the Present, curated by Thomas Fougeirol and Jo-ey Tang, Praz Delavallade gallery, Paris, FR.
2016 More Than Lovers, More Than Friends at FUTURA center for visual arts, curated by Jo-ey Tang (film endings selection), Prague, CZ.
IVe prix Villa de Santanyí Francisco Bernareggi d’ Arts Plastiques, Palme de Majorque, ES.
Price Ciudad de Palma Antoni Gelabert de Artes Visuales, Casal Solleric, Palme de Majorque, ES.
2015 III painting price Mardel Fondation, Centre d´art « Las Cigarreras », Alicante, ES. 2014
BIAM14 (Biennal d´art ciutat d´Amposta), Center « Lo-Pati », Amposta, ES.
Un instant s´il vous plaît, Michel Journiac galery, Saint-Charles center, Paris, FR.
Unser Spiel, Unser Fest, Unsere Arbeit, curated by Rafel G. Bianchi at Sant Andreu Contemporani, Barcelone, ES.
XXVI painting competition Marratxí, Palme de Majorque, ES.
2013 Pictobcn, curated by Mercedes Mangrané, Hangar (center for production and research in visual arts), Barcelona, ES.
Biennal d´Art de Valls, Museu de Valls, Tarragone, ES.
XXXVI Painting competition Casimiro Sainz, Santander, ES.
2012 BIAM12 Arts Biennial Amposta, centre d’ art Lo Pati, Amposta, ES.
ARTMar Garcia Albert, Espagne (1980) margarcialbert@gmail.com +33 (0)6 01 03 04 71
AWARDS AND GRANTS:
2017 Allocation exceptionnelle, CNAP, FR.
2014 Biam 14, honor mention of the jury, Tarragona, ES.
Honor mention for the XXVI Marratxí painting competition, Mallorca, Spain, ES.
2013 Café dossier, Tabacalera, Madrid, ES.
2012 BIAM 12 (Amposta Biennial) acquisition award, Amposta, ES.
ArtMar Garcia Albert, Spain(1980) margarcialbert@gmail.com +33 (0)6 01 03 04 71
STUDIES:
2013/2015 MA degree Espaces, lieux,expositions et réseaux, centre Saint-Charles, Université Paris 1 Panthéon Sorbonne.
Memory: On Evolutive painting.
2009/2010 BAC +3, Fine Arts, University of Barcelona, ES.
2004/2005 BAC +3 Economics, University of Valencia, ES.
PUBLICATIONS:
Catalog of the exhibition Dust: The Plates of the Present, Leipzig, Ed. Spector Books, 2020.
Catalog of the exhibition A Perpendicular Arrangement, Barcelona, Ed. Ferran el Otro, 2018.
Catalog of the exhibition On Translation, Valencia, Ed. Consorcio Museos Comunidad Valenciana, 2017.
Catalog of the exhibition 75 °, Barcelona, Ed. Folch Studio, 2015.
López Munuera, Iván, Procrastinar, Barcelona, Ed. Sant Andreu Contemporani, 2013, « El nostre joc, la nostra festa, el nostre treball, p.10.
Catalog of the exhibition Biennal de Valls 2013, Prix Guasch Coranty, unnumbered pages.
Catalog of the exhibition Picto BCN 2013, Barcelona, Ed. Hangar, p. 29.
Catalog of the exhibition Biennal d´Art Ciutat d´Amposta 2014, Amposta, Ed. Lo Pati, 2014, unnumbered pages.
Catalog of the exhibition ART < 30 2012, from 6 Septembre 2012 to 22nd Septembre 2012, Sala Parés, Barcelona, pages 44-49.
Catalog of the exhibition XVII Biennal d´Art Contemporani Catalá, from 26 April 2010 to 31 de septembre 2011, Catalonia, p. 39-42You can also read
